George Rickey

Acquired directly from the artist by the present owner in 2002

New York, Maxwell Davidson Gallery, George Rickey: Recent Sculptures, 1993, no. 14

Denver, Inkfish Gallery, Rickey: Recent Kinetic Sculptures, 1996

Kruishoutem, Veranneman Foundation, George Rickey Sculptures, 1998

Osaka, Gallery Kasahara, George Rickey, 2000, p. 13.

“Since the design of the movement is paramount, shape, for me, should have no significance of itself; it.mes rely makes movement evident.” — George Rickey 

Spruce II serves as a quintessential example of Rickey’s delicately crafted kinetic sculptures. The present work, which the artist would describe as a “useless machine”, exists as a poetic structure which gravitates in its own space and t.mes . By creating his own machines deprived of any apparent functionality, the artist is rejecting the mechanization of production in America’s consumerist society. His graceful sculptures capture the beauty of meaningless movement guided by the natural world. Rickel’s works, in which the element of perceptible t.mes is incorporated into an essentially t.mes less medium, continue to spellbind viewers around the globe.